Blue coat with silver pattern and trim. The coat has a short collar, long sleeves and centre opening with two frog closures. The fabric pattern repeats a large bouquet motif in silver on blue ground. There is silver looped trim on the sleeve ends, centre opening and bottom hem. The inner lining is white cotton.

Blue coat with embroidery. The coat has a round neck, wide sleeves, side slits and centre opening with brass frog closures. The border around the neck, cuffs and edges has bands of light blue tendrils on cream ground and white zigzags on blue ground. On the centre front and back is a large dragon motif within a large roundel in blue, white, gold and brown on blue ground. Also on the front and back are mountain and cloud motifs in blue, white and gold. The inner lining is blue silk.

Men’s long, A-line, long sleeved coat with high Mandarin collar. Left front extends over right front and fastens with brass ball buttons and decorative loops, located at centre front, and at the right side seam under the sleeve. Collar and left front extension are edged with decorative piping. Made of dark red coarsely woven wool textile. The textile was woven in narrow strips (about 20 cm) that are pieced together at the selvages to provide sufficient widths. All edges are faced with bias strips of light-coloured cotton or silk broadcloth (roughly 5 cm wide). Hand sewn.

Long brown robe with rectangular collar, long sleeves and front centre opening. Dark brown braid is appliquéd around collar, centre opening, upper back, back of sleeves, cuffs, pocket openings and bottom hem. The inside is unlined.

Long white robe with rectangular collar, long sleeves and front centre opening with two frog closures. There is also a tie around the waist. Blue-gray braid is appliquéd around collar, centre opening, upper back, back of sleeves, cuffs, pocket openings, tie and bottom hem. The inside is unlined.

Dark blue kimono with tapered sleeves and a white pattern. The pattern is a diamond design with white dots on a dark blue ground. The pattern is hand stitched. Around the neck and part way down centre opening is a wide dark blue band. There are short ties on the band. The inside is unlined.

« The pattern of a man's moose skin jacket which opens down the front consists of a single back piece and two front pieces which are sewn down the sides of the garment and at the shoulders. Each sleeve consists of two pieces, a large piece and a narrow, V-shaped section. The major sleeve seam, into which is sewn a narrow strip of moose skin, is under the arm. The seams connecting the front and back pieces also have this strip sewn into them. The collar is a separate piece of skin and another narrow section is inserted between the front and back pieces and the collar. Down the front are five red buttons which are inserted into holes reinforced with red thread. A sixth is on the opposite side at the collar and there are single similar but non-functional buttons on each cuff. The garment is sewn with fine twine (fig. 27). The primary decorative element of this specimen is binding of red cotton tape which extends around the lower edge, up both sides of the front opening, and around the collar. Strips of red wool felt are sewn into the seams which join the sleeves to the front and back pieces and around the edges of the cuffs. A strip of red tape is sewn around each sleeve 6 cm from the edge of the cuff. Along the lower edge of these strips is feather stitching in light blue yarn. Similar stitching in yellow yarn extends around the inside of the binding on the lower edge and up the right side of the front. A round the inside of the binding on the collar is the same stitching in white yarn. Speck describes the embroidered ornaments in blue, red, and yellow cotton thread on either lapel as stylized flowers, but says nothing about their significance. On the left arm near the shoulder is a butterfly-shaped ornament of red wool felt outlined in blue yarn with a small rosette design of the same material in the center. It is described as simply a "decoration" (fig. 28). Speck further noted that the jacket was worn by a hunter and the red binding has "symbolic value, i.e. game." He noted the similarity between this binding and the painted red seams on Naskapi garments from the northern interior. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.15, fig 27 (p.55) et p.16, fig 28 (p.56). « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

Original CatalogNotes & References: OUTERWEAR; OILED FLANNEL TEAMSTER'S COAT. Artifact not located 7-30-03. S. Denton (Burke Museum)Dates Range: Mark/Pattern: Modern (less than 50 years old):